I had two separate reactions to countertenor Daniel Taylor’s newest release, boldly titled “The Voice of Bach,” and his first as an exclusive RCA artist. The initial one was just how much better this is than David Daniels’s similar Bach recital released on Virgin late last year. The consequent one was that, no matter how well sung or how beautiful the voice, Bach does not lend itself to the pick-and-choose approach in the same way that Handel does.

Indeed, this disc seems to be part of a trend where a few years ago a slew of singers—countertenors notably among them—relentlessly released Handel aria albums; and now it’s Bach’s turn. Whereas Daniels checks off one aria after another, ordered by source (B-Minor Mass, the Passions, three cantatas), Taylor builds a program around select vocal pieces and Sinfonias to create an all-alto featuring Bach cantata chimera. You can tell that Taylor is not just a countertenor but also the leader of the Theatre of Early Music (and its choir), which performs absolutely splendidly. It’s a much more well rounded, much more varied program and hence more easily listened to than the seemingly random plucking of Bach’s greatest alto hits à la Daniels.

Whereas the former disc might only be of interest to countertenor fans, Taylor’s disc is just primarily interesting for friends of the high male voice. Incidentally, Taylor’s voice on this disc should be very attractive to countertenor skeptics. Unlike the artifice that countertenors can be tinged with compared to altos or mezzos, the extraordinary purity of the Canadian’s voice leaves little rational reason to prefer a female interpreter—or, for that matter, little indication that it is a man singing. If any criticism could be applied at all, it’s that of his voice being so clean as to be devoid of particular character.

With its diversity of vocal, choral, and orchestral pieces, flawless singing, a most pleasant voice, and first-rate instrumental backup, this disc can be highly recommended for what it is. But if Bach, rather than a particular type of voice, is the focus of your listening, I suggest a collection of complete Bach works will prove far more rewarding. I take this from listening to this disc: were Taylor to record some of the cantatas Bach wrote for alto (or baritone), I’d prefer his recording to those of Bowman (Hyperion) and Blaze (BIS), or a hypothetical such release by David Daniels or any other counter I can think of, except José Lemos.